SASKIA HOLT

The radiators clicked off about twenty minutes ago, and you can feel the cold settling into the high corners of the room straight away. It’s barely eight degrees outside, clear and sharp through the sash windows. I’ve put the kettle on and pulled on an extra layer of wool. There’s something steadying about this hour on a Wednesday, when the quiet takes over and there’s nothing left to sort out until morning. I keep returning to the pause in this street portrait: a shoulder against the wall, one hand in a pocket. It gives me somewhere to put the weight instead of holding a pose. For this study, the checked jacket and denim borrow from Lucy Williams’s outfit. I am drawn to the frame where the light catches my hair and leaves the expression alone.

Napló · 2026. okt. 8.

Mid-afternoon sun is cutting right across the kitchen table, sharp and pale. It’s unusual to get light this clean in October, where every ridge in the wood shows up without needing a lamp. I’ve got my coat still slung over the chair, just watching the shadows stretch along the wall before I decide what to do with the rest of the day. Some hours don't ask for a plan; they just give you space to breathe.

Napló · 2026. okt. 7.

I’ve been thinking about the difference between holding an expression and simply occupying space. In early castings, there’s always an urge to offer too much—tilting the chin, tightening the jaw, trying to project a feeling before you’ve even settled. But the images that actually stay with you are almost always the ones where nothing is being sold to the room. Just standing there, breathing at your own pace, and trusting that stillness has enough weight on its own.

Napló · 2026. okt. 6.